Lady Gaga has released a new album in conjunction with the film ‘Joker: Folie à Deux’, aiming to mirror the nuances of her character Harley Quinn, which she deeply relates to. In an interview with Zane Lowe on Apple Music 1, Gaga emphasised her determination to create exactly the album she desired, free from the influence of fans or industry pressures.
Specifically as a female artist and producer, Gaga underscored the joy of asserting, “This album and myself will reflect my desires and decisions. If I choose for it to be steeped in blues, it will be. If I crave funk, it’ll exude funk. If I decide on soul, it will resonate with soul,” and interestingly left out the mention of classic cabaret jazz.
Gaga is no stranger to this field, evidenced by her collaborations with Tony Bennett on 2014’s ‘Cheek to Cheek’ and 2021’s ‘Love for Sale’. Additionally, her recent shows at the Las Vegas Jazz & Piano residency prove she is adept at handling material filled with Bennett, Frank Sinatra, Judy Garland, and Harry Connick Jr’s refined jazz sensibilities, or the performance flair of icons like Liza Minnelli.
The album includes timeless classics such as ‘Get Happy’, ‘That’s Entertainment’, ‘That’s Life’, and ‘If My Friends Could See Me Now’. While these could induce yawns in the wrong hands or if overly familiar, ‘Harlequin’ distinguishes itself through unique stylistic blends that marry the glamour of musical numbers with the uncertain volatility of Harley Quinn.
The distinct twang of the guitar in Get Happy, the irresistibly tempting rhythms in the 1932 classic I’ve Got the World on a String, and a powerful bluesy rendition of the hymn When the Saints Go Marching In, all contribute to the sonic tapestry. In the song If My Friends Could See Me Now, Gaga showcases her remarkable resilience and tenacity, showcasing an acting tour de force.
The album also includes softer songs such as Charlie Chaplin’s Smile, illustrating both vocal prowess and a subtle hat-tip to 2019’s Joker movie that alludes to Chaplin’s Modern Times. A refreshingly naive interpretation of Burt Bacharach/Hal David’s song Close to You contributes to the mix.
Two new songs, the rhythmic Folie à Deux, reminiscent of a Busby Berkeley production, and Happy Mistake, which begins in a delicate tone (“My attempt to veil myself with cosmetics is futile, the performance must continue…I am surrounded by shattered reflections, too numerous to ignore…”) before culminating in a sense of increasing desolation, round out the theme. It’s a quintessential Gaga song that subtly echoes her cinematic persona.
In February, we can anticipate an album composed entirely of new songs. Until then, this offering will suffice nicely.